(from BORO series)
As a printmaker, I always have been attracted to texture on etching plates.
In 1993, I started to experiment combining two different media, etching and enameling over the used etching copper plates, but I stopped working with enameling for a long time since I had no access to an enameling kiln. This year, I set up an old small enameling kiln in my studio, working with this medium again. I am particularly interested in a method of integrating prints and enamel pieces together into collages by stitching with threads. I have been exploring endless possibilities of layering fiber textural elements from cloth in my work. For this project, I used the thin copper foils that have the same thickness as printmaking paper. Then, I cut out the foils in free forms and enameled over the surface of etched lines. I used transparent enamels so that etched lines show through the layer of enamel.
During the process of firing, the brilliance of color and the texture of the enamels are varied by the amount of heat and time in the kiln. This relates to my process of pulling prints through the press. The condition of the ink and the paper, and the pressure of the press are elements that change the print images. Each process informs the other, as I change from print to enamel and back.